Podcasts about Paolo Veronese

Le nozze di Cana di Paolo Veronese: commento e analisi del dipinto con descrizione dei personaggi e confronto con le nozze di Cana dipinte dal Tintoretto.

Esta tarde hay música y dibujo al mismo tiempo en el programa. Nos visita el músico Kevin Johansen para interpretar algunas de sus canciones más conocidas mientras el historietista, ilustrador, pintor y editor argentino, Liniers, improvisa con sus pinceles y recrea esas canciones en dibujos en tiempo real. Este proyecto, que aúna música e ilustración, lleva en marcha más de quince años y recientemente ha tomado forma en el disco 'Desde que te Madrid', grabado en vivo en el Teatro Albéniz.Con Víctor Mora, en nuestra sección Género fluido, abordamos 'Orlando', la novela de Virginia Woolf, a través de varias obras que se han inspirado en ella. Primero, el documental del filósofo Paul B. Preciado, titulado también Orlando, estrenado en 2023. Y después, la adaptación cinematográfica dirigida por Sally Potter en 1993. Entre ambas películas hay 30 años de diferencia, pero la historia escrita hace casi un siglo por Woolf mantiene su vigencia y frescura.El compositor francés David Letellier, conocido como Kangding Ray, ha recibido el premio Cannes Soundtrack a la mejor banda sonora por su trabajo en Sirat, película del cineasta español Oliver Laxe. El filme también ha sido galardonado con el Premio del Jurado del Festival de Cannes 2025, compartido ex aequo con Sound of Falling, de Mascha Schilinski. Hoy, en el pueblo natal del director gallego, se ha proyectado la película y él mismo ha hablado con la prensa.Cerramos el programa con un viaje al Renacimiento veneciano. Paolo Veronese, figura clave del siglo XVI junto a Tiziano y Tintoretto, es el protagonista de una gran exposición antológica en el Museo del Prado. La muestra, que se inaugura hoy, es la principal apuesta primaveral del museo y ofrece un recorrido completo por la obra de este maestro del color, la elegancia y las composiciones monumentales. Nos lo cuenta Ángela Núñez.Escuchar audio

Read OnlinePhilip said to Jesus, “Master, show us the Father, and that will be enough for us.” Jesus said to him, “Have I been with you for so long a time and you still do not know me, Philip? Whoever has seen me has seen the Father. How can you say, ‘Show us the Father'?” John 14:8–9Today's liturgical feast is in honor of two of the Apostles, Philip and James the Lesser.  Little is known about James other than that he was chosen by our Lord for the apostolic ministry and that we have one of his letters, which is contained in the New Testament.  James eventually went to Jerusalem and led the Church for a few decades until he was stoned to death as a martyr. Philip preached in Greece, Phrygia and Syria.  He and Saint Bartholomew were thought to have been crucified upside down. Philip preached upside down from the cross until his death.In the Gospel for today's Mass, we are presented with an encounter that Philip had with Jesus. Though this encounter appears to be a rebuke of Philip by Jesus, it's a rebuke that is quite heartfelt. Jesus says, “Have I been with you for so long a time and you still do not know me, Philip?” Jesus did, indeed, spend much time with His disciples. They stayed together, ate together, traveled together and spent much time talking with each other. Therefore, Jesus' comments to Philip emanated from His real and lived personal relationship with Philip.Take the first part of that statement to begin with. “Have I been with you so long…” Imagine Jesus saying this to you. Is this something He would be able to say to you? Is it true that you do spend much time with Him? Do you spend time reading the Gospels, speaking to Him from the depths of your heart, conversing with Him, praying to Him and listening to His gentle voice?But Jesus goes on: “...and you still do not know me...?” This is a humble truth that is important to admit. It is true that even those who have a very deep and transforming life of prayer do not know our Lord deeply enough. There is no limit to the transformation that can take place in our lives when we know Jesus personally.Jesus' statement goes on: “Whoever has seen me has seen the Father.” So the next question is this: “Do you know the Father?” Do you know the Father's love, His care for you, His perfect will? Though the Father and the Son are united as one God, They are still distinct Persons, and we must, therefore, work to establish a relationship of love with each one of them.As initially mentioned, the comments from Jesus are a gentle rebuke of love to Philip, and He wants to speak this same gentle rebuke to you. But it's a rebuke of love meant to encourage you to get to know Him better. It's an invitation to personalize your relationship with Jesus and the Father in a real and concrete way. Do you know Him? Do you know the Son of God? Do you know the Father in Heaven?Reflect, today, upon these loving questions of our Lord as if they were spoken to you. Let His words encourage you to get to know Him more deeply. Pray for your relationship to become more personal and transforming. And as you get to know our Lord more intimately, know that it is also the Father in Heaven Whom you are getting to know. My divine and personal Lord, it is the deepest desire of Your Sacred Heart to know me and to love me. Fill my heart with this same desire so that I will not only know You, dear Lord, but also the Father in Heaven. Heavenly Father, I thank You for Your perfect love and pray that I may open myself to that love more fully each and every day. Saints Philip and James, pray for me. Jesus, I trust in You.Paolo Veronese, Public domain, via Wikimedia CommonsSource of content: catholic-daily-reflections.comCopyright © 2025 My Catholic Life! Inc. All rights reserved. Used with permission via RSS feed.

Read OnlineNow there was a royal official whose son was ill in Capernaum. When he heard that Jesus had arrived in Galilee from Judea, he went to him and asked him to come down and heal his son, who was near death. Jesus said to him, “Unless you people see signs and wonders, you will not believe.” John 4:46–48Jesus did end up healing the royal official's son. And when the royal official returned to discover his son healed, we are told that “he and his whole household came to believe.” Some came to believe in Jesus only after He performed miracles. There are two lessons we should take from this.First of all, the fact that Jesus performed miracles is a testimony to Who He is. He is a God of abundant mercy. As God, Jesus could have expected faith from those to whom He ministered without offering them the “proof” of signs and wonders. This is because true faith is not based upon external evidence, such as seeing miracles; rather, authentic faith is based upon an interior revelation from God by which He communicates His very self to us and we believe. Therefore, the fact that Jesus did signs and wonders shows just how merciful He is. He offered these miracles, not because anyone deserved them but simply because of His abundant generosity to help spark faith in the lives of those who found it hard to believe through the interior gift of faith alone.With that said, it's important to understand that we should work to develop our faith without relying upon external signs. Imagine, for example, if Jesus would have never performed any miracles. How many would have come to believe in Him? Perhaps very few. But there would have been some who came to believe, and those who did would have had a faith that was exceptionally deep and authentic. Imagine, for example, if this royal official did not receive a miracle for his son but, nonetheless, chose to believe in Jesus anyway through the transforming interior gift of faith.In each one of our lives, it is essential that we work to develop our faith, even if God doesn't seem to act in powerful and evident ways. In fact, the deepest form of faith is born in our lives when we choose to love God and serve Him, even when things are very difficult. Faith in the midst of difficulty is a sign of very authentic faith.Reflect, today, upon the depth of your own faith. When life is hard, do you love God and serve Him anyway? Even if He doesn't remove the crosses you carry? Seek to have true faith at all times and in every circumstance and you will be amazed at how real and sustaining your faith becomes. My merciful Jesus, Your love for us is beyond what we will ever fathom. Your generosity is truly great. Help me to believe in You and to embrace Your holy will both in good times and in difficult ones. Help me, especially, to be open to the gift of faith, even when Your presence and action in my life seems silent. May those moments, dear Lord, be moments of true interior transformation and grace. Jesus, I trust in You.Paolo Veronese, Public domain, via Wikimedia CommonsSource of content: catholic-daily-reflections.comCopyright © 2025 My Catholic Life! Inc. All rights reserved. Used with permission via RSS feed.

O Presidente francês, Emmanuel Macron, anunciou um plano de renovação do Louvre, o museu mais visitado do mundo. A instituição deverá ter uma nova entrada e a obra mais procurada, a Mona Lisa, com 20.000 visitantes diários, deverá passar a ter “um espaço particular”, provavelmente com um bilhete à parte. Neste programa ARTES, falámos com a historiadora de arte Andréa Rodrigues sobre os planos para o Louvre. RFI: O que representa o Museu do Louvre para França?Andréa Rodrigues, Historiadora de Arte: O Louvre tem uma importância muito grande porque o Louvre é "o museu da França". Antes de ser museu, foi uma fortaleza construída por Philippe Auguste na época medieval, no século XII. Foi transformado em residência de reis, no século XIV, por Carlos V, e, durante muitos séculos, esse lugar foi realmente marcado pela monarquia francesa e por esses grandes reis coleccionadores.O Louvre quando foi transformado em museu, foi crescendo, a colecção foi aumentando e hoje é um centro internacional mundial de arte. O objectivo do Louvre não é só mostrar as obras que estão ali, é também ensinar porque é um local de ensino, as pessoas vêm com esse objectivo de aprender, de ganhar conhecimento sobre história da arte. Eu considero que é um local de importância realmente mundial ao nível de arte, por toda a história que tem e toda a colecção que ele conserva.É também o museu mais visitado do mundo. Economicamente tem um peso muito grande para França?Com certeza. Economicamente tem um peso muito grande. O Louvre é frequentado por pouco mais de oito milhões de visitantes por ano. O público estrangeiro é o número maior, se não me engano, mais ou menos 60 a 70% é público estrangeiro de fora da União Europeia, são os americanos - antes eram os chineses, mas agora são os americanos que estão em número mais importante. Depois, há uma percentagem de público francês. Então, a nível financeiro tem muitos ganhos ligados a este museu.Nos anúncios de renovação do Louvre, que foram feitos pelo Presidente francês, ele falou na possibilidade de aumentar o número de visitantes para 12 milhões por ano. O que acha deste aumento? É exequível?Este anúncio do Presidente, essa “Nouvelle Renaissance du Louvre”, com uma nova entrada, vai trazer realmente um fluxo maior. Porém, sim, hoje o Louvre, o percurso clássico com as obras-primas clássicas que todo o mundo quer ver, é um percurso bem difícil, que tem muita gente. Com este novo projecto e esta nova entrada que será feita, o objectivo é aumentar o fluxo, mas facilitar também a circulação desse fluxo no interior do museu. Então, com certeza vai aumentar, mas eu acredito que terá um fluxo muito melhor distribuído dentro do museu.O que pensa da hipótese de colocar a Mona Lisa, de Leonardo da Vinci, que é a obra mais procurada do museu, numa “sala particular”?Eu concordo e gosto porque infelizmente tem muita gente que vem só para ver a Mona Lisa. Eu já tive grupos, na alta estação turística que tem muita gente mesmo, que me pediram para os levar à Mona Lisa. Muita gente vem com esse objectivo de ver essa obra-prima, que é a mais famosa do mundo e a mais famosa do museu. Então, uma sala específica para ela, com todo um recurso pedagógico para facilitar a compreensão também dessa obra, eu acredito que é uma ideia boa. Estou já aguardando e ansiosa para poder fazer essa nova visita do Louvre e poder entrar na “Sala dos Estados” e conseguir mostrar um Ticiano que também está ali, ou um Paolo Veronese que está ali diante da Mona Lisa e que a gente, às vezes, nem consegue explicar por causa de tanta gente que tem. Eu acho que é uma boa opção.Essas obras maiores são esquecidas perante a Mona Lisa?Sim, sim. A “Sala dos Estados” tem uma riqueza enorme de obras do Renascimento, pintores venezianos que, muitas vezes, as pessoas nem olham. Elas vão ali e é só um mar de telefones, tirando fotos da Mona Lisa. Às vezes nem a Mona Lisa elas olham direito, porque é tanta gente que não tem como passar tempo admirando essa obra. E há obras que, infelizmente, passam…Outrora, o Louvre foi considerado como um “templo da arte”. Quando se vai, por exemplo, à sala onde está a Mona Lisa, o Veronese e o Ticiano, ainda podemos olhar para essa parte sacralizada da arte ou é mais uma experiência de turismo de massa?Infelizmente, às vezes, naquela sala, a gente tem um pouco essa impressão de turismo de massa. Mas a nossa responsabilidade enquanto conferencistas, enquanto guias que trabalham com esse público ali, é tentar mostrar para essas pessoas que não há só essa obra, que elas têm que tentar separar um tempo para ver as outras, para tentar tirar esse lado de turismo de massa naquela sala. Nós temos esse papel, eu tenho esse papel.Para toda esta renovação do Louvre, vai ser preciso financiamento. Uma das formas para esse financiamento é a hipótese de bilhetes mais caros para os visitantes que vêm de fora da União Europeia. O que pensa desta medida?É um pouco complicado, realmente. O facto de pagar um bilhete à parte para a Mona Lisa, eu até concordo. Agora, aumentar o custo para os estrangeiros eu acho meio complicado, eu não concordo muito. Claro que vai ser preciso dinheiro para as obras, mas tem muitos mecenas também envolvidos, tem o Louvre Abu Dhabi. Eu acho meio delicado aumentar só para os estrangeiros.A directora do Louvre tinha alertado a ministra da Cultura para problemas no museu. Sente que há problemas de congestionamento, de salas desadequadas, em termos de temperatura, para a conservação das obras, por exemplo?Na verdade, sente-se um pouco. Dentro do próprio museu, como tem um fluxo que está muito dirigido no percurso das obras mais clássicas, a gente vê que tem muitas partes do Louvre que quase não têm fluxo de pessoas e durante a semana há muitas salas que ficam fechadas. Segundo eles, é porque não tem a quantidade correcta de pessoas para trabalhar e para cuidar dessas salas. Então, é meio complicado, sente-se um pouco alguns problemas, até um pouco de stress entre os funcionários.Eu queria agora que falássemos de uma exposição que termina esta semana, "Figures de Fou – Du Moyen Âge aux Romantiques". Houve uma grande evolução na história da arte relativamente a esta "figura"...Sim. Esta exposição, "Figures du Fou" ["As figuras do louco da Idade Média até ao Romantismo"], tem como objectivo mostrar como essa personagem de “o louco” foi representada no decorrer desses diferentes momentos da história da arte. As pessoas não podem imaginar vir visitar essa exposição pensando que vão encontrar uma história da loucura enquanto doença psicológica ou psiquiátrica. Não, não é isso. Na verdade, “o louco” teve vários significados ao longo da história. Havia, por exemplo, “o louco” que era aquele que não acreditava em Deus. Na época da Idade Média, essa pessoa era colocada de lado, à margem da sociedade, era aquele que não tem o senso do mundo e da verdade de Deus, porque a Idade Média é Deus, no período medieval tudo é Igreja e Deus. Depois, houve “o louco” no sentido daquele que deixa tudo na vida para seguir Deus, abandona a riqueza, tudo, como São Francisco de Assis. Há, ainda, o bobo da corte, aquele que vai divertir a corte, o rei, a família real e assim por diante. Depois, há o carnaval, por exemplo, onde as pessoas se fantasiam e esse também era um tipo de louco, de bobo também... A exposição também denuncia "o louco de amor"...O “louco de amor” porque o amor, em si, já era considerado desde a Idade Média como uma loucura porque a pessoa faz loucuras quando está apaixonada. A exposição termina com a questão da loucura enquanto doença que os artistas vão representar, incluindo artistas com problemas psiquiátricos. Então, é uma exposição que traz várias leituras do louco, do bobo. É uma exposição que vale a pena visitar realmente.Qual é a obra-chave para a leitura desta exposição? Há mais de 300 obras expostas, mas há alguma que, para si, melhor represente a exposição?Bom, a exposição abre com uma escultura que vem de uma igreja de Bois-le-Duc e essa escultura é interessante porque desde a Idade Média essa personagem de “o louco” é colocada à margem porque essa escultura está representada na parte externa de uma igreja, no arcobotante da igreja, representando esse louco. Gostei bastante da parte de "o louco de amor" que tem, por exemplo, uma caixinha de marfim, decorada de todos os lados com cenas ligadas a essa questão. Temos aquela história de Aristóteles que se apaixona por Phyllis, amante de Alexandre, o Grande, e faz de tudo para ela deixar Alexandre e ficar com ele. Até esse filósofo, esse homem com o pensamento bem no lugar, pode sucumbir ao amor. Como é que esta figura de “o louco” acabou por ser instrumentalizada e usada como propaganda quer pela Igreja, quer pela monarquia?Sim, é verdade. A gente vê logo ali, na primeira sala, onde tem vários manuscritos religiosos. Esses manuscritos, essas Bíblias, esses livros da época, esses livros de oração vão ser realizados com a figura dessa pessoa que recusa Deus, alguém que é marginalizado, que é representado nu, como um mendigo, como aquele que é jogado de escanteio nos vilarejos e nas cidades da época. São figuras marginalizadas, xingadas, discriminadas e isso é realmente divulgado e os manuscritos são enriquecidos com essas figuras. Mesmo na questão do bobo da corte, essas figuras estão ali só para divertir…Isso também incita a população a seguir sempre o caminho ditado pela sociedade e a não ir para as margens. Não é uma forma de controlar as pessoas?É isso mesmo, é uma forma de controlar, porque tem que se seguir o que é posto como regra, porque senão você está à margem. Então, realmente o controlo existe e vai continuar no decorrer dos séculos, mesmo depois da Idade Média.Também há uns símbolos muito curiosos, grotescos, que surgem nas obras de Bosch, que são os ovos e a galinha. Qual é a simbologia destes elementos?Nós temos várias etapas da figura do louco, da Idade Média até ao Renascimento e ao Romantismo, e chega um momento em que a figura do louco, do bobo, está tão difundida, tão espalhada, que se vê em todo o lugar. Os artistas começam a representar como se o louco aparecesse nas árvores, em vez de frutos e de folhas; as galinhas vão botar ovos e vai sair louco daquele ovo. Vai-se espalhar tanto esse personagem no espaço urbano que ele vai brotar de todo o lugar. Ele vai nascer de todo o lugar, inclusive do ovo da galinha e assim por diante. 

In questo episodio Vittorio Dalle Ore ospita a Villa di Maser (Maser, TV) Judith Wade. Ne nasce una piacevole conversazione in cui si delineano i progetti futuri della proprietà.  In linea con il motto di famiglia, impresso nel timpano della facciata d'ingresso della Villa, che recita “Hospes non hospes”, qui il visitatore non deve sentirsi un estraneo e l'accoglienza è il fil rouge delle presenti e future attività.  Patrimonio dell'Umanità UNESCO, Villa di Maser è una casa abitata, capolavoro dell'architetto Andrea Palladio. Costruita attorno al 1550 come sede prestigiosa della tenuta agricola dei fratelli Daniele e Marcantonio Barbaro, ospita nel piano nobile il più importante ciclo di affreschi di Paolo Veronese. L'attuale sistemazione dei giardini e degli interni della Villa si devono a Marina Volpi di Misurata. Quando, infatti, nel 1934 suo padre, Giuseppe Volpi di Misurata, l'acquistò e affidò la Villa e i suoi giardini alle sue cure, iniziò un'opera di restauro che durò per anni e che la vide collaborare con l'amico architetto Tomaso Buzzi. L'impronta del Buzzi, grande protagonista della cultura estetico-artistica del ‘900 italiano, la si ritrova nei giardini, nelle serre e nella sistemazione degli arredi interni della casa in accordo con il buongusto della proprietaria. Oggi Villa di Maser condivide il suo tesoro di bellezza e cultura con il pubblico e propone diversi momenti di scambio e ricerca in collaborazione con le università e le scuole.    Grazie ai fondi del PNRR a Villa di Maser è in corso un progetto di valorizzazione del giardino, che interessa anche il restauro del ninfeo e delle serre oltre che il refitting e la risistemazione della scuderia.

Read OnlineHe said to her, “Your sins are forgiven.” The others at table said to themselves, “Who is this who even forgives sins?” But he said to the woman, “Your faith has saved you; go in peace.” Luke 7:48–50These loving words from Jesus were spoken to a sinful woman who showed up unannounced at a dinner Jesus was having at the house of a Pharisee. The Pharisee looked down upon her in judgment, but she didn't care. In sorrow for her sins, she anointed Jesus' feet and humbled herself before Him, bathing His feet with her tears and drying them with her hair.The conversation ends with Jesus looking at her and telling her “Your sins are forgiven.” Note the reaction of those who were at the table. We are given an insight into their interior thoughts. They said to themselves, “Who is this who even forgives sins?” Those who have been born and raised within the faith have always understood that God forgives. We were taught this from an early age, learned much about it in preparation for the Sacrament of Reconciliation, and have heard this message throughout our lives in one form or another. But imagine never hearing about or experiencing the forgiveness of God throughout your life, and then suddenly one day you do. Imagine what these people must have been experiencing as they encountered the forgiveness of sins for the first time in the Person of Jesus as He forgave this sinful woman. They may have been a bit confused by this, but, perhaps more than anything else, they would have experienced a holy awe and amazement at what God had done. They saw this sinful woman come in, they sensed the judgment and demeaning attitude of the Pharisees, they saw her express sorrow and humiliation, and then they saw Jesus forgive her.Are you amazed at the gift of the forgiveness of your sins and the sins of others? Or do you take forgiveness for granted? The wonder and awe that the people manifested at the forgiveness of the sins of this woman should help us to examine our own attitude toward God's mercy and forgiveness. We need to continually foster within ourselves the same amazement at God's mercy that these people had. We must work to never take forgiveness for granted or to see it as just one more normal part of life. Rather, we must see it as extraordinary, ever new, ever glorious and forever awe inspiring. Reflect, today, upon the awe-inspired words of these first followers of Jesus: “Who is this who even forgives sins?” As you do, let God fill you with the deepest gratitude for the forgiveness He has offered you. Renew your appreciation for this unmerited gift from God and allow that gratitude to become the source of your ongoing amazement at the mercy of God.My forgiving Lord, Your mercy and compassion for the sinner is truly awe-inspiring. Thank You for loving me and all Your followers with a love so deep. Please fill my heart with a holy awe at Your incredible mercy. May I always be amazed at Your forgiveness and always be filled with the deepest gratitude as I experience it in my life. Jesus, I trust in You.Source of content: catholic-daily-reflections.comCopyright © 2024 My Catholic Life! Inc. All rights reserved. Used with permission via RSS feed.Featured image above: The Feast in the House of Simon the Pharisee by Paolo Veronese, via Wikimedia Commons

Read Online“Lord, do not trouble yourself, for I am not worthy to have you enter under my roof. Therefore, I did not consider myself worthy to come to you; but say the word and let my servant be healed.” Luke 7:6–7What's interesting is that these humble words, spoken by a Roman centurion, were not actually spoken by the centurion to Jesus. This is because the centurion did not believe he was even worthy of going to Jesus himself. Therefore, he sent some of his friends to speak these words to Jesus on his behalf. In a real way, the friends of this centurion acted as intercessors before Jesus. Jesus' response was to express amazement at the centurion's faith. Jesus said to the crowd who was with Him, “I tell you, not even in Israel have I found such faith.” And at that point, the servant was healed by Jesus from a distance.Most of the time, if we have an important request to make of another, we do so in person. We go to the person and speak face-to-face. And though we certainly can go to our Lord in prayer, face-to-face, person to Person, there is something very humble about bringing our needs to our Lord through the intercession of another. Specifically, there is something very humble about asking for the intercession of the saints.Seeking the intercession of the saints before our Lord is not done because we are afraid of our Lord or because He would be offended by us going directly to Him. It is ideally done as an act of the utmost humility. By entrusting our prayer to those who are in Heaven, gazing upon the face of God, we do entrust our prayer to God. But relying upon the intercession of the saints is also a way of acknowledging that we are not worthy, by our own merits, to stand before the Lord and bring Him our request. This humility can be difficult to understand at times, but it's important to try.What is it that you need to pray for in your life right now? As you call that to mind, pick a saint to act as your friend and intercessor before God. Turn to that saint in humility and say a prayer to that saint, admitting that you are not worthy of going to our Lord on your own. Then entrust your petition to that saint and ask him or her to present that prayer to our Lord on your behalf. Praying to our Lord, through the intercession of a saint, is a way of also saying that you know Jesus' response to you is pure mercy on His part. And the good news is that Jesus deeply desires to shower His mercy when we humble ourselves before Him, especially by coming to Him through the mediation of the saints. Reflect, today, upon the humility of this well-respected Roman centurion. Try to understand the power of his humble approach by which he sent his friends to Jesus on his behalf. As you do, pick a saint in Heaven and ask them to go to our Lord on your behalf and request that our Lord grant you the same humility and faith as this centurion. Doing so will lead our Lord to be amazed at your faith and humility also.Saints of God, please offer to Jesus my humble request that I grow more in humility and faith. My precious Lord, I do bring this and all my prayers to You. As I do, I acknowledge that I am not worthy of Your Divine Mercy. But through the mediation of the saints in Heaven, if it be Your will that You bestow Your mercy upon me, then I humbly make this request of You through them. Mother Mary, I especially entrust all my prayers to Your holy intercession. Jesus, I trust in You.Source of content: catholic-daily-reflections.comCopyright © 2024 My Catholic Life! Inc. All rights reserved. Used with permission via RSS feed.Featured image above: Jesus and the Centurion by Paolo Veronese, via Wikimedia Commons

Read Online“Likewise, no one pours new wine into old wineskins. Otherwise, the new wine will burst the skins, and it will be spilled, and the skins will be ruined. Rather, new wine must be poured into fresh wineskins.  And no one who has been drinking old wine desires new, for he says, ‘The old is good.'” Luke 5:37–39This short parable comes at the beginning of Jesus' public ministry. He just called Levi, the tax collector, to become one of His disciples, and then Levi invited Jesus to dine at his home with other tax collectors and sinners. When the scribes and Pharisees saw this, they objected and challenged our Lord. In response, Jesus tells this parable as a way of explaining that He came to call everyone to change and to experience a new transformation of their life.The “new wine” spoken of in this parable is the grace poured forth from the Cross. Remember that blood and water sprung forth from His side as He hung upon the Cross. This has been symbolically understood as the grace and mercy given to us from the Cross, which is transmitted today through the Sacraments of Baptism and Holy Communion. Baptism transforms us into a new creation, and, as a new creation in Christ, we must desire the new wine of the Most Holy Eucharist so as to be daily transformed by our Lord.Many of the Church Fathers point out that the “old wine” that many prefer is a reference to those who wanted to continue living according to the old law. This is especially true of the scribes and Pharisees to whom Jesus was speaking this parable. Jesus was bringing them a new teaching and preparing them for a new grace. But they rejected it, preferring the old life they were living.One thing this tells us is that if we are to receive this new wine of the grace of God, we must be ready and willing to abandon our old selves and become new. Change can be hard. Even as evangelized Christians who are already living in the grace of Christ, we will be continually called to a deeper and deeper change in our lives. Too often we can easily become complacent and content with the life we are living. When that happens, it will hinder our Lord from pouring the new wine of His grace into our souls in ongoing superabundance.How do you deal with change in life? If you want to grow in holiness, you can be certain that change is the only constant in life. We must become new creations each and every day, growing, being more fully transformed, changing our ways, giving up the old and embracing that which is ever new. This requires a certain amount of courage as we come face-to-face with the daily need to be changed by grace. It means daily death to our old self and daily becoming a new creation in God.Reflect, today, upon the courage it takes to change. What is it in your life that you may be afraid to change? What “old wine” do you prefer over the “new wine” of God's grace? What old habits or attachments do you have that our Lord wants you to let go of? Face the changes God wants for you with courage and trust, and You will indeed become more fully the new creation in Christ you are meant to be. My most merciful Lord, I know You call me to continual change in my life. Please give me the courage I need to face all that I need to detach from in life and all that hinders me from becoming the glorious new creation You have called me to become. Pour forth Your abundant grace into my life, dear Lord, making me into Your new and glorious creation in grace. Jesus, I trust in You.Source of content: catholic-daily-reflections.comCopyright © 2024 My Catholic Life! Inc. All rights reserved. Used with permission via RSS feed.Featured image above: The Feast in the House of Levi by Paolo Veronese, via Wikimedia Commons

Art Muse LA's Clare Kunny helps us drink with our eyes at Paolo Veronese's Marriage at Cana.

Stanley Whitney talks to Ben Luke about his influences—from writers to musicians and, of course, other artists—and the cultural experiences that have shaped his life and work. Whitney, ​​born in Philadelphia in 1946, makes abstract paintings that feature interlocking rectangles, squares and bands of paint whose intense colours hum with musical resonance and rhythm. Rigorously structured yet full of improvisation and unexpected incident, his paintings are both arresting and slow-burning: they grab you with their bold hues and hold you with their complex harmonies and dissonances, their sense of constant movement. He is particularly known for his square-format paintings of the past two decades but his career has been a lifelong search for a distinctive form of painting—one that, as he has said, is defiantly abstract yet contains “the complexity of the world”. He reflects on his encounters with an early mentor, Philip Guston; being painted by Barkley Hendricks, a fellow student at Yale; and his close friendship with David Hammons. He discusses his love of Paul Cezanne, Vincent van Gogh, Paolo Veronese and Henri Matisse, as well as the work of Gees Bend quilters. And explains how he connects this deep love of painting to musical greats including Miles Davis, Charlie Parker and Charlie Mingus. Plus he discusses in detail his life in the studio and answers our usual questions, including “what is art for?”Stanley Whitney: How High the Moon, Buffalo AKG Art Museum, Buffalo, US, 9 February-27 May; Walker Art Center, Minneapolis, US, 14 November-16 March 2025; Institute of Contemporary Art /Boston, US, 17 April 2025–1 September 2025; Stanley Whitney: Dear Paris, Gagosian, Paris, until 28 February. Hosted on Acast. See acast.com/privacy for more information.

C'è un tema principale in un dipinto? E ci sono dei dettagli nascosti in disaccordo con quel tema? A caccia di dettagli nell'arte da Paolo Veronese a Kazimir Malevič, con focus sugli artisti contemporanei Maria Morganti, Chiara Enzo, Rudy Cremonini.

In 1573, Paolo Veronese was commissioned by the Dominicans at the church of Saints Giovanni and Paolo in Venice to paint a “Last Supper” to replace an earlier version by Titian that had been destroyed by fire. The result was a massive image full of numerous figures engaged in a hedonistic celebration. Not surprisingly, a few months after completing the painting, the artist was called before the Holy Tribunal of Venice to answer to accusations of indecorous religious painting. Veronese was able to satisfy his inquisitors and save his painting by changing its subject to the “Feast in the House Levi.”

Season 2 Finale! For the conclusion of this treatment of Renaissance Venice, we discuss Paolo Veronese and his famous painting that enraged the Holy Inquisition: The Supper in the House of Levi. Indeed, upon completion of this painting, the forces of the Counter-Reformation descended upon Veronese, bringing him under interrogation to explain what they deemed to be inappropriate in his art. This discussion details the painting itself along with the trial that condemned it within the greater context of the Protestant Reformation, the Counter-Reformation, and the Roman Inquisition as it manifested in Venice. All social links: https://linktr.ee/italian_renaissance_podcast Get additional content by becoming a Patron: patreon.com/TheItalianRenaissancePodcast Support the show

In 1562, Veronese was commissioned to paint a massive painting of the “Wedding Feast at Cana” to adorn the end wall of the refectory of the Benedictine monastery of San Giorgio in Venice, Italy. What he produced was an extraordinary impression of typical Venetian revelry in the late 16th century with more than 100 figures participating in the great feast.

Paolo Veronese is the third member of the great Venetian late Renaissance trio that also includes Titian and Tintoretto. The church of San Sebastiano in Venice was decorated over 15 years with paintings exclusively by Veronese and is a veritable shrine to the genius of this great painter.

Art Muse LA's Clare Kunny helps us drink with our eyes at Paolo Veronese's Marriage at Cana.

In this episode, I was joined by Nicholas Scott Baker to discuss his book, In Fortune's Theater: Financial Risk and the Future in Renaissance Italy (Cambridge University Press, 2021). Professor Baker is an Associate Professor of history at Macquarie University in Sydney Australia interested in the political and economic cultures of early modern Europe and the Mediterranean, with a particular focus on Renaissance Italy. In this fascinating new book, Professor Baker reveals how Renaissance Italians developed a new concept of the future as unknown time-yet-to-come. As In Fortune's Theater makes clear, nearly everyone in Renaissance Italy seemingly had the future on their minds. Authorities in important commercial hubs such as Genoa, Venice, Rome, and Florence legislated against overzealous betting on the future. Merchants filled their commercial correspondence with a lexicon of futurity. Famed painters such as Caravaggio, Giorgio Vasari, and Paolo Veronese manipulated the existing iconography of the figure of Fortuna into a moral allegory about unseized opportunity. And seemingly every important Renaissance Italian intellectual including Petrarch, Dante, Christine de Pizan, Poggio Bracciolini, Leon Battista Alberti, Laura Cereta, Giovanni Pontano, Niccolò Machiavelli, Francesco Guicciardini, and Baldassare Castiglione cared deeply about time-yet-to-come. Baker's book is a rich, multilayered examination of the problems of risk, fortune, and the future in the Renaissance, and it should have broad appeal to anyone interested in the economic and political culture of early modern Europeans. Michael Paul Martoccio is an Assistant Professor of History at the University of Wisconsin-Madison specializing in the economic and military historian of the early modern Mediterranean. I am especially interested in how early modern economic practices – consumerism, market culture, and the commercialization of war – shaped notions of sovereignty, territoriality, and political geography. If you have a title to suggest for this podcast, please contact him at martoccio@wisc.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In this episode, I was joined by Nicholas Scott Baker to discuss his book, In Fortune's Theater: Financial Risk and the Future in Renaissance Italy (Cambridge University Press, 2021). Professor Baker is an Associate Professor of history at Macquarie University in Sydney Australia interested in the political and economic cultures of early modern Europe and the Mediterranean, with a particular focus on Renaissance Italy. In this fascinating new book, Professor Baker reveals how Renaissance Italians developed a new concept of the future as unknown time-yet-to-come. As In Fortune's Theater makes clear, nearly everyone in Renaissance Italy seemingly had the future on their minds. Authorities in important commercial hubs such as Genoa, Venice, Rome, and Florence legislated against overzealous betting on the future. Merchants filled their commercial correspondence with a lexicon of futurity. Famed painters such as Caravaggio, Giorgio Vasari, and Paolo Veronese manipulated the existing iconography of the figure of Fortuna into a moral allegory about unseized opportunity. And seemingly every important Renaissance Italian intellectual including Petrarch, Dante, Christine de Pizan, Poggio Bracciolini, Leon Battista Alberti, Laura Cereta, Giovanni Pontano, Niccolò Machiavelli, Francesco Guicciardini, and Baldassare Castiglione cared deeply about time-yet-to-come. Baker's book is a rich, multilayered examination of the problems of risk, fortune, and the future in the Renaissance, and it should have broad appeal to anyone interested in the economic and political culture of early modern Europeans. Michael Paul Martoccio is an Assistant Professor of History at the University of Wisconsin-Madison specializing in the economic and military historian of the early modern Mediterranean. I am especially interested in how early modern economic practices – consumerism, market culture, and the commercialization of war – shaped notions of sovereignty, territoriality, and political geography. If you have a title to suggest for this podcast, please contact him at martoccio@wisc.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

In this episode, I was joined by Nicholas Scott Baker to discuss his book, In Fortune's Theater: Financial Risk and the Future in Renaissance Italy (Cambridge University Press, 2021). Professor Baker is an Associate Professor of history at Macquarie University in Sydney Australia interested in the political and economic cultures of early modern Europe and the Mediterranean, with a particular focus on Renaissance Italy. In this fascinating new book, Professor Baker reveals how Renaissance Italians developed a new concept of the future as unknown time-yet-to-come. As In Fortune's Theater makes clear, nearly everyone in Renaissance Italy seemingly had the future on their minds. Authorities in important commercial hubs such as Genoa, Venice, Rome, and Florence legislated against overzealous betting on the future. Merchants filled their commercial correspondence with a lexicon of futurity. Famed painters such as Caravaggio, Giorgio Vasari, and Paolo Veronese manipulated the existing iconography of the figure of Fortuna into a moral allegory about unseized opportunity. And seemingly every important Renaissance Italian intellectual including Petrarch, Dante, Christine de Pizan, Poggio Bracciolini, Leon Battista Alberti, Laura Cereta, Giovanni Pontano, Niccolò Machiavelli, Francesco Guicciardini, and Baldassare Castiglione cared deeply about time-yet-to-come. Baker's book is a rich, multilayered examination of the problems of risk, fortune, and the future in the Renaissance, and it should have broad appeal to anyone interested in the economic and political culture of early modern Europeans. Michael Paul Martoccio is an Assistant Professor of History at the University of Wisconsin-Madison specializing in the economic and military historian of the early modern Mediterranean. I am especially interested in how early modern economic practices – consumerism, market culture, and the commercialization of war – shaped notions of sovereignty, territoriality, and political geography. If you have a title to suggest for this podcast, please contact him at martoccio@wisc.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

In this episode, I was joined by Nicholas Scott Baker to discuss his book, In Fortune's Theater: Financial Risk and the Future in Renaissance Italy (Cambridge University Press, 2021). Professor Baker is an Associate Professor of history at Macquarie University in Sydney Australia interested in the political and economic cultures of early modern Europe and the Mediterranean, with a particular focus on Renaissance Italy. In this fascinating new book, Professor Baker reveals how Renaissance Italians developed a new concept of the future as unknown time-yet-to-come. As In Fortune's Theater makes clear, nearly everyone in Renaissance Italy seemingly had the future on their minds. Authorities in important commercial hubs such as Genoa, Venice, Rome, and Florence legislated against overzealous betting on the future. Merchants filled their commercial correspondence with a lexicon of futurity. Famed painters such as Caravaggio, Giorgio Vasari, and Paolo Veronese manipulated the existing iconography of the figure of Fortuna into a moral allegory about unseized opportunity. And seemingly every important Renaissance Italian intellectual including Petrarch, Dante, Christine de Pizan, Poggio Bracciolini, Leon Battista Alberti, Laura Cereta, Giovanni Pontano, Niccolò Machiavelli, Francesco Guicciardini, and Baldassare Castiglione cared deeply about time-yet-to-come. Baker's book is a rich, multilayered examination of the problems of risk, fortune, and the future in the Renaissance, and it should have broad appeal to anyone interested in the economic and political culture of early modern Europeans. Michael Paul Martoccio is an Assistant Professor of History at the University of Wisconsin-Madison specializing in the economic and military historian of the early modern Mediterranean. I am especially interested in how early modern economic practices – consumerism, market culture, and the commercialization of war – shaped notions of sovereignty, territoriality, and political geography. If you have a title to suggest for this podcast, please contact him at martoccio@wisc.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, I was joined by Nicholas Scott Baker to discuss his book, In Fortune's Theater: Financial Risk and the Future in Renaissance Italy (Cambridge University Press, 2021). Professor Baker is an Associate Professor of history at Macquarie University in Sydney Australia interested in the political and economic cultures of early modern Europe and the Mediterranean, with a particular focus on Renaissance Italy. In this fascinating new book, Professor Baker reveals how Renaissance Italians developed a new concept of the future as unknown time-yet-to-come. As In Fortune's Theater makes clear, nearly everyone in Renaissance Italy seemingly had the future on their minds. Authorities in important commercial hubs such as Genoa, Venice, Rome, and Florence legislated against overzealous betting on the future. Merchants filled their commercial correspondence with a lexicon of futurity. Famed painters such as Caravaggio, Giorgio Vasari, and Paolo Veronese manipulated the existing iconography of the figure of Fortuna into a moral allegory about unseized opportunity. And seemingly every important Renaissance Italian intellectual including Petrarch, Dante, Christine de Pizan, Poggio Bracciolini, Leon Battista Alberti, Laura Cereta, Giovanni Pontano, Niccolò Machiavelli, Francesco Guicciardini, and Baldassare Castiglione cared deeply about time-yet-to-come. Baker's book is a rich, multilayered examination of the problems of risk, fortune, and the future in the Renaissance, and it should have broad appeal to anyone interested in the economic and political culture of early modern Europeans. Michael Paul Martoccio is an Assistant Professor of History at the University of Wisconsin-Madison specializing in the economic and military historian of the early modern Mediterranean. I am especially interested in how early modern economic practices – consumerism, market culture, and the commercialization of war – shaped notions of sovereignty, territoriality, and political geography. If you have a title to suggest for this podcast, please contact him at martoccio@wisc.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In this episode, I was joined by Nicholas Scott Baker to discuss his book, In Fortune's Theater: Financial Risk and the Future in Renaissance Italy (Cambridge University Press, 2021). Professor Baker is an Associate Professor of history at Macquarie University in Sydney Australia interested in the political and economic cultures of early modern Europe and the Mediterranean, with a particular focus on Renaissance Italy. In this fascinating new book, Professor Baker reveals how Renaissance Italians developed a new concept of the future as unknown time-yet-to-come. As In Fortune's Theater makes clear, nearly everyone in Renaissance Italy seemingly had the future on their minds. Authorities in important commercial hubs such as Genoa, Venice, Rome, and Florence legislated against overzealous betting on the future. Merchants filled their commercial correspondence with a lexicon of futurity. Famed painters such as Caravaggio, Giorgio Vasari, and Paolo Veronese manipulated the existing iconography of the figure of Fortuna into a moral allegory about unseized opportunity. And seemingly every important Renaissance Italian intellectual including Petrarch, Dante, Christine de Pizan, Poggio Bracciolini, Leon Battista Alberti, Laura Cereta, Giovanni Pontano, Niccolò Machiavelli, Francesco Guicciardini, and Baldassare Castiglione cared deeply about time-yet-to-come. Baker's book is a rich, multilayered examination of the problems of risk, fortune, and the future in the Renaissance, and it should have broad appeal to anyone interested in the economic and political culture of early modern Europeans. Michael Paul Martoccio is an Assistant Professor of History at the University of Wisconsin-Madison specializing in the economic and military historian of the early modern Mediterranean. I am especially interested in how early modern economic practices – consumerism, market culture, and the commercialization of war – shaped notions of sovereignty, territoriality, and political geography. If you have a title to suggest for this podcast, please contact him at martoccio@wisc.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/european-studies

In this episode, I was joined by Nicholas Scott Baker to discuss his book, In Fortune's Theater: Financial Risk and the Future in Renaissance Italy (Cambridge University Press, 2021). Professor Baker is an Associate Professor of history at Macquarie University in Sydney Australia interested in the political and economic cultures of early modern Europe and the Mediterranean, with a particular focus on Renaissance Italy. In this fascinating new book, Professor Baker reveals how Renaissance Italians developed a new concept of the future as unknown time-yet-to-come. As In Fortune's Theater makes clear, nearly everyone in Renaissance Italy seemingly had the future on their minds. Authorities in important commercial hubs such as Genoa, Venice, Rome, and Florence legislated against overzealous betting on the future. Merchants filled their commercial correspondence with a lexicon of futurity. Famed painters such as Caravaggio, Giorgio Vasari, and Paolo Veronese manipulated the existing iconography of the figure of Fortuna into a moral allegory about unseized opportunity. And seemingly every important Renaissance Italian intellectual including Petrarch, Dante, Christine de Pizan, Poggio Bracciolini, Leon Battista Alberti, Laura Cereta, Giovanni Pontano, Niccolò Machiavelli, Francesco Guicciardini, and Baldassare Castiglione cared deeply about time-yet-to-come. Baker's book is a rich, multilayered examination of the problems of risk, fortune, and the future in the Renaissance, and it should have broad appeal to anyone interested in the economic and political culture of early modern Europeans. Michael Paul Martoccio is an Assistant Professor of History at the University of Wisconsin-Madison specializing in the economic and military historian of the early modern Mediterranean. I am especially interested in how early modern economic practices – consumerism, market culture, and the commercialization of war – shaped notions of sovereignty, territoriality, and political geography. If you have a title to suggest for this podcast, please contact him at martoccio@wisc.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/italian-studies

In this episode, I was joined by Nicholas Scott Baker to discuss his book, In Fortune's Theater: Financial Risk and the Future in Renaissance Italy (Cambridge University Press, 2021). Professor Baker is an Associate Professor of history at Macquarie University in Sydney Australia interested in the political and economic cultures of early modern Europe and the Mediterranean, with a particular focus on Renaissance Italy. In this fascinating new book, Professor Baker reveals how Renaissance Italians developed a new concept of the future as unknown time-yet-to-come. As In Fortune's Theater makes clear, nearly everyone in Renaissance Italy seemingly had the future on their minds. Authorities in important commercial hubs such as Genoa, Venice, Rome, and Florence legislated against overzealous betting on the future. Merchants filled their commercial correspondence with a lexicon of futurity. Famed painters such as Caravaggio, Giorgio Vasari, and Paolo Veronese manipulated the existing iconography of the figure of Fortuna into a moral allegory about unseized opportunity. And seemingly every important Renaissance Italian intellectual including Petrarch, Dante, Christine de Pizan, Poggio Bracciolini, Leon Battista Alberti, Laura Cereta, Giovanni Pontano, Niccolò Machiavelli, Francesco Guicciardini, and Baldassare Castiglione cared deeply about time-yet-to-come. Baker's book is a rich, multilayered examination of the problems of risk, fortune, and the future in the Renaissance, and it should have broad appeal to anyone interested in the economic and political culture of early modern Europeans. Michael Paul Martoccio is an Assistant Professor of History at the University of Wisconsin-Madison specializing in the economic and military historian of the early modern Mediterranean. I am especially interested in how early modern economic practices – consumerism, market culture, and the commercialization of war – shaped notions of sovereignty, territoriality, and political geography. If you have a title to suggest for this podcast, please contact him at martoccio@wisc.edu.

In this episode, I was joined by Nicholas Scott Baker to discuss his book, In Fortune's Theater: Financial Risk and the Future in Renaissance Italy (Cambridge University Press, 2021). Professor Baker is an Associate Professor of history at Macquarie University in Sydney Australia interested in the political and economic cultures of early modern Europe and the Mediterranean, with a particular focus on Renaissance Italy. In this fascinating new book, Professor Baker reveals how Renaissance Italians developed a new concept of the future as unknown time-yet-to-come. As In Fortune's Theater makes clear, nearly everyone in Renaissance Italy seemingly had the future on their minds. Authorities in important commercial hubs such as Genoa, Venice, Rome, and Florence legislated against overzealous betting on the future. Merchants filled their commercial correspondence with a lexicon of futurity. Famed painters such as Caravaggio, Giorgio Vasari, and Paolo Veronese manipulated the existing iconography of the figure of Fortuna into a moral allegory about unseized opportunity. And seemingly every important Renaissance Italian intellectual including Petrarch, Dante, Christine de Pizan, Poggio Bracciolini, Leon Battista Alberti, Laura Cereta, Giovanni Pontano, Niccolò Machiavelli, Francesco Guicciardini, and Baldassare Castiglione cared deeply about time-yet-to-come. Baker's book is a rich, multilayered examination of the problems of risk, fortune, and the future in the Renaissance, and it should have broad appeal to anyone interested in the economic and political culture of early modern Europeans. Michael Paul Martoccio is an Assistant Professor of History at the University of Wisconsin-Madison specializing in the economic and military historian of the early modern Mediterranean. I am especially interested in how early modern economic practices – consumerism, market culture, and the commercialization of war – shaped notions of sovereignty, territoriality, and political geography. If you have a title to suggest for this podcast, please contact him at martoccio@wisc.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

Series: Ephesians Scripture References: Ephesians 1:15-23 For this reason, because I have heard of your faith in the Lord Jesus and your love toward all the saints, I do not cease to give thanks for you, remembering you in my prayers, that the God of our Lord Jesus Christ, the Father of glory, may give you the Spirit of wisdom and of revelation in the knowledge of him, having the eyes of your hearts enlightened, that you may know what is the hope to which he has called you, what are the riches of his glorious inheritance in the saints, and what is the immeasurable greatness of his power toward us who believe, according to the working of his great might that he worked in Christ when he raised him from the dead and seated him at his right hand in the heavenly places, far above all rule and authority and power and dominion, and above every name that is named, not only in this age but also in the one to come. And he put all things under his feet and gave him as head over all things to the church, which is his body, the fullness of him who fills all in all. [The Wedding at Cana by Paolo Veronese

Immerse yourself in the enchanting world of Vicenza, Italy in this episode of "The Pocket Explorer". Dive into Vicenza's rich history, from its Roman roots to its Renaissance flourish under the influence of architect Andrea Palladio. Discover the city's key sights including the stunning Basilica Palladiana, Teatro Olimpico, and the breathtaking Cathedral of Vicenza. Explore the city's artistic achievements, from Palladio's architectural masterpieces to the works of painters like Paolo Veronese and Giovanni Battista Tiepolo. Indulge in the local cuisine, from traditional dishes like baccalà alla vicentina and risotto con l'amarone, to the region's famous Prosecco and Amarone wines. Enjoy the vibrant culture of Vicenza, with its bustling shopping streets, picturesque bike routes along the Riviera Berica, and lively festivals like the Fiera di San Pietro. Learn about local customs, language tips, and cost of living for a well-rounded travel experience. Round off your trip with visits to nearby attractions like Verona and Padua. Plan your perfect Vicenza adventure with "The Pocket Explorer"!

Cile, lo Stato nel ciclo produttivo del litio Bruxelles sceglie Luigi Di Maio come inviato speciale per il Golfo Persico  Open to… imbarazzo Paolo Veronese, il potere delle parole

Eccoci con il nostro appuntamento mensile d'arte con Sabrina. Cavalcando l'onda dell'immigrazione, faremo un viaggio storico su come queste opere siano arrivate fuori dall'Italia. Quindi oggi ci occuperemo di ‘cold case' di opere d'arte. Come sono arrivate queste bellissime opere nei Paesi stranieri?  Parleremo, ovviamente, della Gioconda; delle Nozze di Cana di Paolo Veronese; la Battaglia di San Romano di Paolo Uccello e della Donna con l'ermellino di Leonardo. Piccole sorprese su queste grandi opere, speriamo questa puntata vi sia gradita come lo è stato per noi. Buon ascolto! Dani & Lia ~~ Here we are with our monthly art appointment with Sabrina. On the wave of immigration, we will make a historical journey on how these works are outside Italy. We will talk about 'cold cases' of works of art. How did Italian art arrive in foreign countries? We will talk about the Gioconda; of the Marriage of Cana by Paolo Veronese, the Battle of San Romano by Paolo Uccello, and  Leonardo's Woman with an Ermine. Little surprises in these great works; we hope you enjoy this episode as much as we did. Happy listening!  

Ngomongin tentang Etika menurut Aristoteles. Cover: Aristotle by Paolo Veronese, Biblioteka Marciana. Oil on canvas, 1560s

Xavier F. Salomon is the Frick's Deputy Director and Peter Jay Sharp Chief Curator. A noted scholar of Paolo Veronese, he curated the monographic exhibition on the artist at the National Gallery, London (2014). Previously, Salomon was Curator in the Department of European Paintings at the Metropolitan Museum of Art and, before that, the Arturo and Holly Melosi Chief Curator at Dulwich Picture Gallery, where he curated Van Dyck in Sicily, 1624–25: Painting and the Plague (2012) and collaborated with Nicholas Cullinan on Twombly and Poussin: Arcadian Painters (2011). As an Andrew W. Mellon Curatorial Fellow at the Frick (2004–6), he curated Veronese's Allegories: Virtue, Love, and Exploration in Renaissance Venice (2006). Salomon's other exhibitions for the Frick include Cagnacci's Repentant Magdalene: An Italian Baroque Masterpiece from the Norton Simon Museum (2016–17), Veronese in Murano: Two Venetian Renaissance Masterpieces Restored (2017–18), Murillo: The Self-Portraits (2017–18), Canova's George Washington (2018), Tiepolo in Milan: The Lost Frescoes of Palazzo Archinto (2019), and (with Aimee Ng and Alexander Noelle) Bertoldo di Giovanni: The Renaissance of Sculpture in Medici Florence (2019–20). Salomon received his Ph.D. on the patronage of Cardinal Pietro Aldobrandini from the Courtauld Institute of Art. He has published in Apollo, The Burlington Magazine, Master Drawings, The Medal, The Art Newspaper, Journal of the History of Collections, and The Metropolitan Museum of Art Journal. Salomon also wrote (with Maira Kalman) the latest volume in the Frick Diptych series, Rembrandt's Polish Rider (2019). He is a trustee and a member of the Projects Committee of Save Venice. In 2018, Italy named Salomon Cavaliere dell'Ordine della Stella d'Italia. Follow us on Twitter and Instagram.

Fr. Mike breaks down the intricacies in the Wedding at Cana painting by Paolo Veronese. We find that this painting, along with the readings for this week, invites us to love more deeply. 

En este episodio de #ColoresEnAudio, Maurizzio Zamudio y Luis Villacorta nos hablan de diversos aspectos de la República de Venecia en el siglo XVI y de la vida y obra del pintor Paolo Veronese.Pueden ver las imágenes que acompañan el audio aquí:https://docs.google.com/presentation/d/1l28VL3XXRmWVJfpfhRYOHN9xzYkRIE3m/edit?usp=sharing&ouid=108419143005085633188&rtpof=true&sd=true

En este episodio de #ColoresEnAudio, Maurizzio Zamudio y Luis Villacorta nos hablan de diversos aspectos de la República de Venecia en el siglo XVI y de la vida y obra del pintor Paolo Veronese. Pueden ver las imágenes que acompañan el audio aquí: https://docs.google.com/presentation/d/1l28VL3XXRmWVJfpfhRYOHN9xzYkRIE3m/edit?usp=sharing&ouid=108419143005085633188&rtpof=true&sd=true

“La Rua, la magia di Vicenza”, mediometraggio sulla tradizionale festa storica cittadina nata nel 1444, è stato presentato ieri pomeriggio alla 78° Mostra del cinema di Venezia, negli spazi che la Regione del Veneto dedica alle produzioni locali in collaborazione con Vicenza Filmcommision e Consorzio Vicenzaè. Per il Comune era presente l'assessore alla cultura Simona Siotto.Il film è stato prodotto per l'edizione 2021 del “Giro della Rua” con l'obiettivo di celebrare la seconda più antica Festa storica del Veneto nell'anno in cui la situazione pandemica non consente di organizzare la grande parata del volontariato e associazionismo cittadino. Il 18 e 19 settembre sarà presentato in alcune sale cinematografiche della città, nei prossimi mesi sarà candidato a festival nazionali e internazionali e contribuirà a promuovere la candidatura di Vicenza e della sua provincia a Città italiana della Cultura 2024.Il mediometraggio, della durata di 62 minuti, prende spunto dalla storica processione della Rua per presentare la città attraverso una suggestiva passeggiata tra le sue architetture e i luoghi meno conosciuti. Il centro della narrazione sono i cittadini, immersi in uno straordinario patrimonio artistico e monumentale. Numerose sono le citazioni cinematografiche e gli omaggi a grandi registi come Scola, Fellini, Pasolini, Kurosawa e Ferreri. Significativa la ricerca iconografica che attinge alla pittura (Paolo Veneziano, Giovanni Bellini, Paolo Veronese.

Host Jo Reed and AudioFile's Robin Whitten discuss how Cynthia Saltzman's fascinating audiobook is a fusion of exceptional writing and an outstanding narration by Suzanne Toren. Saltzman presents a sweeping account of Napoleon's conquest of Europe, including the looting of its finest antiquities and Renaissance masterpieces and the creation of the Musée du Louvre. Caught between the colliding worlds of art and politics is the history of Paolo Veronese's painting THE WEDDING FEAST AT CANA. The level of detail and visual imagery in the audiobook is stunning, and Toren delivers the entirety with a bravura that is uniquely her own. Read the full review of the audiobook on AudioFile's website. Published by Tantor Media. Find more audiobook recommendations at audiofilemagazine.com Today's episode is sponsored by Graphic Audio, A Movie in Your Mind featuring dramatized adaptations of Comics like ARCHIE, DARK HORSE, VAULT, DYNAMITE and more. Save 55% Off your first order with coupon 55LISTEN only at GraphicAudio.net Learn more about your ad choices. Visit megaphone.fm/adchoices

Gianni Moriani"L'eros gastronomico"di Tullio GregoryElogio dell'identitaria cucina tradizionale, contro l'anonima cucina creativaEditori Laterza https://www.laterza.it/«A tavola si vive un processo di civiltà che è cultura ed è stato così a partire dal Simposio di Platone e dall'Ultima cena in poi. Fin dalle società primitive la manipolazione degli alimenti non risponde solo al bisogno nutrizionale, ma si colloca in un cosmo intellettuale e fantastico ove si incontrano uomini e dèi, sacro e profano, morti e viventi, caricando il cibo di valori che trascendono la sua natura materiale.»«Se chiedo il bollito non voglio il piatto che richiama concetti di carni bollite, ma un carrello dei bolliti». Tullio Gregory, filosofo, ma anche grande gourmet, tuona così contro la cucina creativa in nome della grande tradizione gastronomica italiana, di cui resta poca traccia nella cultura d'oggi. Si deve, al contrario, ritrovare il senso di una civiltà della cucina, perchéa tavola – come diceva lui – c'è «davvero quella verità intera, piacevole, morbida e profumata che possiamo non solo contemplare ma anche gustare».Attraverso racconti su alcuni alimenti e consigli di lettura, decaloghi del perfetto gastronomo e indicazioni di cottura, questo libro traccia il percorso della ‘civiltà del gusto' e del piacere della tavola. Solo in questo modo sarà possibile riconquistare il patrimonio di tradizioni enogastronomiche che è parte integrante della nostra storia e recuperare la gioia del convito, momento fondamentale del vivere civile.Tullio Gregory (1929-2019), storico della filosofia, ha insegnato Storia della filosofia medievale e Storia della filosofia presso l'Università di Roma La Sapienza. Ha studiato in particolare la storia del naturalismo, del platonismo e dell'aristotelismo medioevali e rinascimentali, estendendo poi le sue ricerche ai temi centrali della cultura filosofica europea del Seicento. Ha insegnato all'École Pratique des Hautes Études e alla Sorbona, che gli ha conferito la laurea honoris causa, e ha fondato e diretto il Lessico Intellettuale Europeo (Cnr). È stato Accademico dei Lincei, membro di varie accademie straniere, direttore scientifico e ideatore di varie opere dell'Istituto della Enciclopedia Italiana e componente del Comitato scientifico del Festivalfilosofia sin dall'inizio. Tra le sue pubblicazioni per Laterza , Principe di questo mondo. Il diavolo in Occidente (2013).Gianni Moriani è uno storico della cucina e del paesaggio agrario italiani, Visiting professor alla Pontificia Università Antonianum di Roma. Con Marsilio ha pubblicato Il secolo dell'odio (2009). Le sue più recenti pubblicazioni sono Palladio architetto della villa fattoria (2008), Le fastose cene di Paolo Veronese nella Venezia del Cinquecento (2014), Veneto, terre e paesaggi del vino (2015).IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/

Art Muse LA's Clare Kunny helps us drink with our eyes at Paolo Veronese's Marriage at Cana.

nell ‘ ottica del camminare “lento pede” come sul SENTIERO PASOLINI appena sarà possibile accedere una visita è auspicabile.Testo e foto sono di Paolo Veronese

En este episodio veremos cómo las élites de Venecia y Amsterdam fueron fundamentales para el patrocinio de las artes durante el siglo XVII. Tomaremos como referentes a los artistas Rembrandt van Rijn y Paolo Veronese con las obras ‘La ronda de noche' y ‘Las bodas de Canaa' respectivamente.

Giovane pittore affascinato dalle leggi dell'ottica e della percezione visiva, Georges Seurat è considerato uno dei massimi esponenti del Puntinismo, una tecnica pittorica che consiste nell'accostamento di puntini di colore puro complementari tra loro, i quali attraverso la mescolanza ottica si fondono direttamente nell'occhio dell'osservatore. Nato nel 1859 da una famiglia benestante, si iscrisse all'École des Beaux-Arts dove studiò i grandi maestri del passato: Delacroix, Paolo Veronese, Piero della Francesca. Fu l'incontro con gli Impressionisti che diede un impulso maggiore allo nascita del suo personalissimo stile. Protagonisti delle opere di Seurat sono uomini e donne, appartenenti a diverse classi sociali ritratti in scene di vita parigina dove il tempo sembra essersi fermato. Un Edward Hopper ante litteram che con le sue opere riesce ad esprimere un senso di solitudine e di sospensione.link "Bagnanti ad Asnières": https://bit.ly/2UOMhiJlink "Una domenica pomeriggio sull'isola della Grande-Jatte" Google Art and Culture https://g.co/arts/8T5ejUjzA7pu3zc3Alink "Lo Chahut": https://bit.ly/2N3rQdSlink Chevreul: https://bit.ly/3d6THEzmusic by Giorgio di CampoBossa Blue for you https://bit.ly/2DCsxH3Doxie in the club https://bit.ly/2TilubI

L'artista delle grandi tele e delle grandi tavolate. Nei suoi quadri sacri si mischia il profano anche al rischio, e credetemi che l'ha rischiata, di eresia. Oggi, a walkman, il nostro ospite è Paolo Veronese.Tutte le immagini su https://quellodiarte.com/2019/11/15/a-tavola-con-veronese/Vuoi rimanere aggiornato su tutte le novità su Quello di Arte? Iscriviti alla mailing list di Quello di Arte cliccando su questo link https://mailchi.mp/e5da93e9fc36/mailinglistPlaylistMichelangelo Mammoliti, Walkman Main, 2019

Pidamos al Señor que abra nuestros corazones† Lectura del santo evangelio según San Lucas (Lc 7, 1-10) Imagen: "Jesús sanando al siervo de un centurión” (Paolo Veronese, 1585)

Pidamos al Señor que abra nuestros corazones† Lectura del santo evangelio según San Lucas (Lc 7, 1-10) Imagen: "Jesús sanando al siervo de un centurión” (Paolo Veronese, 1585)

This dramatic scene was painted by Paolo Veronese during the Counter-Reformation. The Church, reeling from years of corruption and the rise of Protestantism, relied on works like these to promote the importance and validity of the sacraments. And martyrs were meant to serve as role models to Catholics. The idea was, “Hey, look what this person is willing to go through for their faith!” I thought it would be fun to have an actual artist on the podcast! So today, I'm joined by Bruce Campbell, one of the Gallery's longtime copyists. We discuss technique and what he discovered while copying this painting he describes as operatic. Lucy was one tough lady. Despite being born into a noble Sicilian family in the third century, she became a Christian at a time when Christians were being persecuted mercilessly. She stood up to an abusive Roman governor and died speaking her truth to power. See the artwork at https://alonglookpodcast.com/the-martyrdom-and-last-communion-of-st-lucy-by-veronese/ SHOW NOTES “A Long Look” theme is “Ascension” by Ron Gelinas youtu.be/jGEdNSNkZoo Episode theme is “Adoramus te Christe” composed by Giovanni Palestrina. Performed by Słowiki Choir. Courtesy of musopen.org https://musopen.org/music/4209-adoramus-te-christe/ St Lucy information https://www.nga.gov/collection/art-object-page.63264.html#overview https://www.britannica.com/biography/Saint-Lucy de Voragine, Jacobus. The Golden Legend. Anno Press, NY 1969 Counter Reformation information https://www.khanacademy.org/humanities/world-history/renaissance-and-reformation/protestant-reformation/v/introduction-to-the-protestant-reformation-the-counter-reformation-4-of-4 Bruce Campbell information www.atelierbic.com Slow Art Day http://www.slowartday.com The post The Martyrdom and Last Communion of St. Lucy by Veronese appeared first on A Long Look.

Episode 3 of Surface Tension focusses on three site-specific works: Counterpoint (performed in the courtyard at Somerset House), TooMortal (presented in various churches) and Outlander (a monastery in Venice). Our presenter Sanjoy Roy opens by asking Shobana about the practical and artistic questions of making work for different spaces outside of theatres. We speak to Jenny Waldman who commissioned Counterpoint in 2010 to be performed in and amongst the fountains in the courtyard of Somerset House. 20 female dancers were specifically chosen to dance in the 55 fountains of this vast and classical space.  TooMortal was commissioned by Dance Umbrella and the Venice Biennale to be performed in churches. Shobana and Father Allan Scott, former Rector of St Mary's Old Church in London, describe the incredible difficulty in finding a church in Venice that would allow dance to take place. Too strange? Not suitable? Women dancing in the pews? In the end St George's Anglican Church in Venice agreed to take piece... We talk to Betsy Gregory, former Artistic Director for Dance Umbrella, about the excitement around programming for non-theatre spaces and putting dance in unusual locations. In the third section, we move on to Outlander from 2016, made for a monastery in Venice, which used to house the painting 'Wedding at Cana' by Paolo Veronese. Sander Loonen joins the discussion via skype to talk about his role as production manager and the staging for this very bespoke piece.  Shobana recounts that the initial inspiration came from Veronese’s exuberant masterpiece which features a contemporary, multicultural wedding feast. Performed by three company dancers, it is a closely observed series of solos that shift between reflection and speed. The work contrasts Shobana’s choreography with the classical beauty of Venice. Each dancer becomes a character who brings their own mixture of strangeness and familiarity to Veronese’s celebrations on a specially designed catwalk lit by Sander Loonen and with a baroque inspired soundscape by Scanner.   Shobana Jeyasingh @SJeyasinghDance Born in Chennai, India, she currently lives and works in London. Her acclaimed, highly individual work has been seen in all kinds of venues, including theatres, outdoor and indoor sites and on film. Her work taps into both the intellectual and physical power of dance, and is rooted in her particular vision of culture and society. Shobana’s work is often enriched by specially commissioned music composed by an array of contemporary composers — from Michael Nyman to beat-boxer Shlomo. Her eclectic band of creative collaborators have included filmmakers, mathematicians, digital designers, writers, animators, as well as lighting and set designers.   Sanjoy Roy @sanj0yr0y Sanjoy Roy (London, UK) has been writing on dance for the Guardian since 2002, and has contributed to many other publications including the New York Times, New Statesman, Dance Gazette and Dancing Times, and is London correspondent for Dance International magazine. He is currently also the editor of Springback Magazine, a Europe-wide online dance journal launched in 2018. First writing about Shobana in 1997, he has since written reviews and articles on her work, as well as interviews, programme notes and education materials for her company.

Oggi vi proponiamo uno sguardo sulle mostre che vale la pena di visitare: PAUL KLEE e PAOLO VERONESE al Museo Diocesano

Oggi vi proponiamo uno sguardo sulle mostre che vale la pena di visitare: PAUL KLEE e PAOLO VERONESE al Museo Diocesano (prima parte)

Oggi vi proponiamo uno sguardo sulle mostre che vale la pena di visitare: PAUL KLEE e PAOLO VERONESE al Museo Diocesano (prima parte)

Dr. Low clears up cultural confusion about Mary Magdalene with the help from Harriet, who completed her undergraduate thesis on the subject. Pictured here is the painting titled Feast in the House of Simon the Pharisee by Paolo Veronese, which is discussed in this episode. Visit www.katherinelow.com for a list of the gospels' anointing stories.

To get a sense of how Venice was in earlier times, head to the Accademia Gallery, the best museum for Venetian Renaissance painting. The Venetian love of the good life shows itself in Venetian painting, and Paolo Veronese's "Feast in the House of Levi" is a perfect example. At http://www.ricksteves.com, you'll find money-saving travel tips, small-group tours, guidebooks, TV shows, radio programs, podcasts, and more on this destination.

Ospite in studio Eleana Liotta, autrice con Paolo Veronese di "il bene delle donne"

The five winning stories from our National Gallery competition for short stories inspired by paintings. Featuring models, virgins, Duchesses, conquerors and tigers - to name but a few ... WINNING STORIES RUNNING ORDER Authenticity and the Madonna by Ingrid Jendrzejewski, read by Sarah Feathers, inspired by Madonna with the Iris, workshop of Albrecht Durer Stilleven by Gregory Jackson, read by David Mildon, inspired by Still Life with Pewter Vessels and Crab by Willem Claeszoon Heda The Lost Species by Jenny Ramsay, read by Miranda Harrison, inspired by Surprised! by Henri Rousseau Desperately Seeking Hephaestion by Elizabeth Hopkinson, read by Nicholas Delvalle, inspired by The Family of Darius before Alexander by Paolo Veronese, The Ugly Duchess by Fiona Salter, read by Claire Lacey, inspired by An Old Woman (The Ugly Duchess) by Quinten Massys

In the final installment of our four-part series on hospitality, Pastor Nancy gives an introduction to Paolo Veronese’s famous painting re-titled, “Feast in the House of Levi.” (http://www.wga.hu/frames-e.html?/html/v/veronese/06/8levi.html) The history behind the painting and Veronese’s imaginative and festive portrayal of the Last Supper helps guide our modern day conversations about the connections between hospitality and... Read more

La città di Verona, quest'anno, ha dedicato una grande e importante mostra a quello che forse è il miglior artista a cui abbia dato i natali: Paolo Caliari, meglio noto come il Veronese. Formatosi nella città natale sotto Antonio Badile e Giovan Francesco Caroto, ma guardando con curiosità e interesse a diverse fonti (ricordiamo, su tutti, Giulio Romano e il Parmigianino), ben presto il giovane Paolo arrivò a Venezia dove guardò all'arte di Tiziano, ma dove riuscì anche a ritagliarsi un notevole spazio nel giro delle committenze illustri, tanto da contendersi con il Tintoretto, poco più avanti, la reputazione di artista più richiesto di Venezia. Le sue atmosfere fastose e solenni ma anche festose e liete precorsero l'arte del Settecento, le sue teorie sui colori complementari hanno influenzato anche l'arte contemporanea. Con Ilaria e Federico scopriamo l'arte di Paolo Veronese attraverso una selezione di grandi capolavori presenti alla mostra di Verona!

La città di Verona, quest'anno, ha dedicato una grande e importante mostra a quello che forse è il miglior artista a cui abbia dato i natali: Paolo Caliari, meglio noto come il Veronese. Formatosi nella città natale sotto Antonio Badile e Giovan Francesco Caroto, ma guardando con curiosità e interesse a diverse fonti (ricordiamo, su tutti, Giulio Romano e il Parmigianino), ben presto il giovane Paolo arrivò a Venezia dove guardò all'arte di Tiziano, ma dove riuscì anche a ritagliarsi un notevole spazio nel giro delle committenze illustri, tanto da contendersi con il Tintoretto, poco più avanti, la reputazione di artista più richiesto di Venezia. Le sue atmosfere fastose e solenni ma anche festose e liete precorsero l'arte del Settecento, le sue teorie sui colori complementari hanno influenzato anche l'arte contemporanea. Con Ilaria e Federico scopriamo l'arte di Paolo Veronese attraverso una selezione di grandi capolavori presenti alla mostra di Verona!

Non è certo tra i più famosi protagonisti della storia dell'arte, ma Alessandro Turchi ha saputo realizzare composizioni molto raffinate. Nato nel 1578 a Verona, ebbe modo di formarsi con Felice Brusasorci in un ambiente artistico molto vivace e pieno di artisti di alto livello: uno su tutti, Paolo Veronese. Si trasferì quindi a Roma nel 1614: nella capitale dello Stato Pontificio, Alessandro entrò in contatto con l'arte di Caravaggio senza esserne troppo coinvolto, e soprattutto approfondì l'arte di Guido Reni: il classicismo reniano entrò nell'opera di Alessandro e non la abbandono più. Sempre a Roma, nel 1638 diventò anche Principe dell'Accademia di San Luca succedendo in tale carica a Pietro da Cortona. Artista aggraziato e delicato, Alessandro Turchi riuscì a essere anche pittore "che piace in qualunque soggetto" (secondo le parole di Luigi Lanzi) dato che in carriera trattò con dimestichezza una buona varietà di tematiche nelle sue opere: scopriamo le più belle con Ilaria e Federico!

Non è certo tra i più famosi protagonisti della storia dell'arte, ma Alessandro Turchi ha saputo realizzare composizioni molto raffinate. Nato nel 1578 a Verona, ebbe modo di formarsi con Felice Brusasorci in un ambiente artistico molto vivace e pieno di artisti di alto livello: uno su tutti, Paolo Veronese. Si trasferì quindi a Roma nel 1614: nella capitale dello Stato Pontificio, Alessandro entrò in contatto con l'arte di Caravaggio senza esserne troppo coinvolto, e soprattutto approfondì l'arte di Guido Reni: il classicismo reniano entrò nell'opera di Alessandro e non la abbandono più. Sempre a Roma, nel 1638 diventò anche Principe dell'Accademia di San Luca succedendo in tale carica a Pietro da Cortona. Artista aggraziato e delicato, Alessandro Turchi riuscì a essere anche pittore "che piace in qualunque soggetto" (secondo le parole di Luigi Lanzi) dato che in carriera trattò con dimestichezza una buona varietà di tematiche nelle sue opere: scopriamo le più belle con Ilaria e Federico!

Justine of Padua became a martyr to the Christian faith when she was killed by a sword in her breast. Emperor Maximian, who ordered her persecution, sits high on his throne. Saints appeared to Justine in a vision. The dog appears in many of Veronese’s paintings and such profane inclusions in religious works caused him to be questioned by the Inquisition about his decorum. Veronese’s claim to absolute right of artistic licence remains famous as a defence case.